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- Ben Swift, Henry J. Gardner, Alistair Riddell
- OZCHI
- 2010
Social music-making systems offer the possibility of accessible and engaging group experiences. In this paper we explore questions concerning the notion of 'engagement' in social music-making. In a… (More)
- Andrew Sorensen, Ben Swift, Alistair Riddell
- Computer Music Journal
- 2014
The ten-year anniversary of TOPLAP presents a unique opportunity for reflection and introspection. In this essay we ask the question, what is the meaning of live coding? Our goal is not to answer… (More)
Improvisational group musics, such as jazz, have their own cultures and conventions of musical interaction. One characteristic of this interaction is the primacy of the experience over the musical… (More)
- Alistair Riddell
- Leonardo
- 2001
The concepts of process and data, inherent in the technology of contemporary music, are contributing to a new musical practice and aesthetic. The role of technology in musical production has cast… (More)
- Alistair Riddell
- 2005
Composer Conlon Nancarrow speaks about his interest in tempo and the technical aspects of polytempo used in jazz and African music. He also speaks about the differences in composing and for composers… (More)
This paper addresses the issue of the accuracy of management earnings forecasts provided in Australian IPO propectuses, and whether the announcement of earnings forecast errors has information… (More)
- Alistair Riddell
- 2011
Introduction Developments in digital technology over the past 30 years have given rise to a bewildering array of interpretations concerning the ability to “sense and control the real world”… (More)
- Alistair Riddell
- 2009